esotika en karagarga escribió:Photobook by Shuji Terayama.This is incredibly rare and sells for upwards of 400 USD whenever it sells. Also, There are 112 scans here, but the book is actually around 220 page-- I only scanned any pages with images on them, as the other pages were useless to me and would have made this an even larger undertaking that I really didn't/don't have time for. Regardless, there's lots of amazing eyecandy here for those who like Terayama's films and plays.

helge79 escribió:The large archive are various incidental music compilations and movie soundtracks written for Shuji Terayama and his underground theater Tenjo Sajiki (the principal artists there are J.A.Seazer and Kan Mikami). Then there two further works, each of them involving the out-of-the-ordinary graphic designer Tadanori Yokoo in some way.http://www.divxclasico.com/foro/viewtopic.php?t=50587

Poet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful, TERAYAMA SHUJI (1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s, Terayama created a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which "magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.---Amos Vogel. Film as Subversive Art.

Terayama's first feature film is a scream for contestation, so radical in its ideology, narration, mode of expression, and even in its choice of music, that it seems to anticipate the punk movement by a few years. The opening shot shows an empty box ring, thus setting the scene for an painful confrontation with the demons of the director's past, namely the oppressing role of family and the passing of time, destroyers of all hopes and dreams of genuine freedom for a young man running from disillusion to disenchantment. This work is also a means for him to express his position with regards to the crushing American presence in the country and the nation's passivity and retrograde politics inherited from the 1945 defeat.*

Terayama's second feature recapitulates some of the main themes of Throw Away Your Books in more directly personal terms: it's a film about a film-maker's re-examination (and attempted revision) of his own childhood. His boyhood self is an unprepossessing lad who lives with his monstrous, widowed mother, fantasises about the desirable girl-next-door, and finds the visiting circus a touchstone for his dreams of escape. With passion, wit and a genuinely engaging charm, Terayama poses the burning question: Does murdering your mother constitute a true liberation? The autobiographical stance and the circus motif have evoked countless comparisons with Fellini, but they're very wide of the mark: the film isn't burdened with bombast or rhetoric, but it is rich in (authentically Japanese) poetry, and its modernist approach is challenging in the best and most accessible sense.

In mid-career, while he is on a winning streak, and in the middle of a fight he is winning, a young boxer is revolted by the violence of the game. He allows himself to be beaten up and quits the match and the sport. He also leaves his wife and child and lives alone with his moth-eaten old dog, all the while losing his sight. Years later, he is hunted down by a young man who is ambitious to become a prize-winning boxer. Persistence pays off, and he eventually persuades the ex-boxer to be his manager and trainer. The boy begins his rise to success, though he has a stormy relationship with his manager.

Enlaces

Hay un DVDRip VOSI en karagarga. Si interesa, lo pongo en eMule.

Grass LabyrinthKusa Meikyu

Año

1979

País

Japón, Francia

Idioma

Japonés

Duración

50 minutos

Guión

Kyoka Izumi (story), Rio Kishida (writer), Shuji Terayama (writer)

Música

J.A. Seazer

Hilo en DXC

Comentario

In this 40-minute avant-garde film based on a story by the surrealist writer Kyoka Izumi, director Shuji Terayama uses the pretext of a young man's determination to recover the lyrics and music to a song he loved in his childhood in an exploration of widely variant perceptions of reality. Originally released in 1979 as one of three "featurettes" in the French omnibus film Collections Privées, Kusa Meikyu was re-released in Japan after the death of Shuji Terayama in 1983, to much fanfare and publicity. Many critics consider this his best film, and some feel it is emblematic of the essence of Japanese cinema.

The girl I'm supposed to place in a brothel has a delicious cheese. During one scene, she truly has a nervous breakdown when a mechanical dick on a kind of fuck machine is inserted into her hole. She throws herself on the cold, slimy sand floor of the studio and rolls and wallows in the filth, shrieking her lungs out. No one can get near her. I lovingly calm her down and take her to my dressing room. There I bend her over the makeup table in front of the mirror and give her a rough and thorough fuck from behind. Then she's fine again.---Klaus Kinski. All I need is love.

This remarkable compilation follows an exchange of video letters, which took place between Shuji Terayama and Shuntaro Tanikawa in the months immediately preceding Terayama's death. You can think of it as a home video produced by two preeminent poets and interlayed with highly abstract philosophizing, slightly aberrant behavior and occasionally flamboyant visuals.

Terayama's last film may seem more conventionally narrative than his earlier works, but it does have inarguable nostalgic charm, and the final episodes do put the entire narrative in a slightly different perspective. The powerful low-key performances by the middle-aged leads (especially Mayumi Ogawa) need to be particularly acknowledged, and, of course, Chigusa and Ada are an irresistibly cute couple...

Finished shooting in 1962, the movie's cast was almost the same as its crew. With a bunch of experimental symbols such as skinny human body, clock and goat flow from one scene to another, the film explores the question of whether a man is a prisoner of the time

"Butterfly" (1974) reflects early memories -- shadows, people walking in front of the screen. (When a boy, Terayama used to sleep under the screen of a local movie theater and awake to gigantic images above him, and the shadows of viewers in front of the projector.)

In "Laura" (1974), movie memories turn self-referential. Two strippers on the screen start talking back to the audience: "Hey, you in the front row, stop it. Oh, we know what kind of people come to see experimental films!"

The first play that Terayama created for Tenjo Sajiki, The Hunchback of Aomori remains a key work in the Terayama canon. In many ways, it is emblematic of Terayama's interests and obsessions during his entire life.---Carol Fisher Sorgenfrei. Unspeakable Acts, p. 69.

The title and some of the text were taken from Jonathan Swift’s satire, but the main inspiration seemed to come from Jean Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks.*

These are supplementary videos for a performance of Shuji Terayama's Directions to Servants (Nuhikun) by his theater Tenjo Sajiki. The performance is different from (and more radical than) Directions to Servants.

Shuji Terayama and J.A.Seazer's phantasmagoric folk-psych-symph-prog-rock opera. Historical Tenjo Sajiki performance from 1978. A brief synopsis (for a somewhat different version of the play) is given here. Much of the symbolism of Shintokumaru is shared with Terayama's earlier masterpiece motion picture Pastoral: to die in the country.

Lemmings: The Man Who Walks Through Walls. The evocative phrase aptly suggests the goal of Terayama's later staging experiments: to destroy all barriers between people and places, to walk through walls, to go beyond the known into unexplored territory. It also suggests an action that only a ghost or a nonmaterial being can accomplish.---Carol Fisher Sorgenfrei. Unspeakable Acts, p. 170.

This sumptuous-yet-austere liberal re-working of Cien años de soledad by Gabriel García Márquez, arranged on a five-part stage surrounded by the audience, was historically the latest production of Tenjo Sajiki. It is also something of a theater prequel to Terayama's last film, Farewell to the Ark.